Camera Resources | ARRI 416 – 4th Generation Super 16mm Camera

CinemaTechnic

Camera Profiles | ARRI 416

23 April 2006: ARRI introduces the first completely new 16mm studio camera in 30 years.

For the first time since 1976*, an entirely new Super 16mm camera from ARRI has been introduced at NAB 2006! Coming 30 years after the debut of the enormously successful Arriflex 16SR, the new ARRI 416 is not an evolution of the 16SR3 Advanced. The new camera follows the new ergonomic design aesthetic that began with the ARRI 435 and was further refined with the ARRI 235.

The 416 is based on the 16SR3 film transport (movement) and shares a very similar gate and the same shutter and pressure plate. But that’s where the similarity ends.

The overall shape of this camera is completely different from the 16SR3. Flat bottom of the 16SR’s gives way to a rounded shoulder-friendly profile more like the 235. The complete redesign was necessary for two reasons. First, the new larger diameter lenses such as the LDS Ultra Prime and Master Prime lenses were not usable on the SR3 because the viewfinder pivot was positioned too close to the lens port. The best way to resolve this problem was to design a completely new viewfinder. Having made that major change, ARRI decided that continuing to evolve the 16SR framework would not be practical.

The 416 is also the first camera since the 16SR-1 that does not share magazine compatibility with previous cameras. The new 400 ft. (120m) coaxial magazines have a design that reminds me of the Aaton XTR magazines. Camera assistants beware: This is the first ARRI coaxial magazine that feeds from the right side.

The long standing ARRI coaxial feed/take-up paradigm has been broken. The new mags feed from the operator’s (left) side of the camera. The loading process on these mags is very different from the SR3. I reccomend camera assistants take advantage of the first opportunity to get their hands on the mags and practice.

An important point to not is that there will be no 800 ft magazines. An ARRI rep told me that sales of the SR3 800 ft magazines had been very limited, so they have decided not to offer a 800 ft magazine for the 416.

Also, there will be no high speed version of the 416. High speed duties will continue to be handled by the 16SR3 Advanced Highspeed. The new camera maintains the 75 fps top speed of the 16SR3, but with a minimum speed of only 1 fps.

And the 416 is QUIET. Sound level is claimed at less than 20 dBA sound level. Movement noise in inaudible, even if you take the mag off and expose the gate/shutter/claw while the camera is running.

Check this page frequently in the days that follow for more information about the ARRI 416. I will have some more photos soon. I will also be updating the page on new Super 16 lenses with information about the new ARRI/Zeiss Ultra 16 lenses.

*The 16SR was tested by cinematographers at the Winter Olympics in Innsbruck Austria February 4 – 15, 1976. Deliveries of the first cameras took place later that year.

ARRI 416 SPECIFICATIONS:

Format: Super 16mm ONLY (not switchable to regular 16)

Lens mount: ARRI PL 54mm Ø, centered on S16 format, non-eccentric

Movement: Based on SR3, silent running, single pull down claw and single registration pin, adjustable pitch

Shutter: 45 – 180º, manually adjustable

Frame rate: 1 – 75 fps (at this point, a high speed version is NOT planned, the 16SR3HS will continue to be produced).

Noise level: Less than 20 dBA

Viewfinder: New design, uses 235 eyepiece, and 235 short and medium viewfinder extensions

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